Hanging on the wall in my office is the framed cover of the inaugural issue of The Brownies’ Book, a monthly periodical for Black youths created by W.E.B. Du Bois and other members of the NAACP in 1920.
The magazine – the first of its kind – includes poems and stories that speak of Black achievement and history, while also showcasing children’s writing.
Although much of American children’s literature published near the turn of the last century – and even today – filters childhood through the eyes of white children, The Brownies’ Book gave African American children a platform to explore their lives, interests and aspirations. And it reinforced what 20th-century American literature scholar Katharine Capshaw has described as Du Bois’ “faith in the ability of young people to lead the race into the future.”
Most likely inspired by The Brownies’ Book, several Black weekly newspapers went on to create their own children’s sections. While the children’s publishing industry may have shut out Black voices and perspectives, the editors of these periodicals sought to fill the void by celebrating them, giving kids a platform to express themselves, connect with one another and indulge their curiosities.
A pioneering publication
The cover image of that first issue of The Brownies’ Book, published in January 1920, epitomizes this effort. In it, a young Black girl stands on the tips of her toes, dressed in a ballet costume.
Already, this image represented a radically different vision of Black childhood. Children’s literature of the late 19th and early 20th centuries very rarely focused on African Americans. The few Black children who did appear in print were often written or drawn as variations of Topsy, the enslaved young girl from Harriet Beecher Stowe’s “Uncle Tom’s Cabin,” who is initially considered “naughty” only to be redeemed by Eva, who plays the role of the “white savior.”
As children’s literature scholar Michelle H. Martin has noted, “children who wanted to read about black characters in children’s literature could read about buffoons, mammies, Sambos or savages,” but not about “the beauty” of Black children.
The girl on The Brownies’ Book cover offers a vastly different vision of Black childhood than the caricatures seen throughout popular culture of the time. She’s confident, excited and talented. The pages that follow feature an assortment of fiction, commentary, history and news for young readers that honors and extols Black identity.
One of the most compelling recurring sections is titled “The Jury,” which features children’s letters to the editor. In the magazine’s first issue, a boy named Franklin writes to ask about “things colored boys can work at when they grow up.” Eleanor wants the editor to recommend “some books on the Negro” so that she “can learn more about [her] race.” And a 15-year-old girl inquires about possible funding sources so that she can attend a boarding school that accepts African American students.
The Brownies’ Book had a relatively short run – 24 issues from January 1920 to December 1921. But it nonetheless seems to have encouraged a number of other Black newspapers to launch children’s sections in the early 1920s. The Pittsburgh Courier, Baltimore’s Afro-American and the Journal and Guide, published in Norfolk, Virginia, each experimented with children’s sections.
But by far the most successful effort was that of the Chicago Defender, which would launch a periodical section for Black youths that ran for decades.
‘Let us make the world know that we are living’
The Chicago Defender was perhaps the most influential Black newspaper of the 20th century. Its readership extended across the United States, and it helped spur the Great Migration, a time during which millions of African Americans left the South, by promoting job opportunities in Northern industrial cities like Chicago. Roi Ottley, biographer of Defender publisher Robert S. Abbott, wrote that only the Bible was more significant to Black Americans during the first half of the 20th century.
In 1921, the Chicago Defender started publishing a section called the Defender Junior, run by a fictional editor named Bud Billiken. Billiken was really a 10-year-old boy named Willard Motley, who later became a noted novelist, though sometimes the paper’s adult editors wrote under Billiken moniker. In his first column, Billiken tells readers that he wants to fill “this column with sayings and doings of we little folks,” and implores them to submit their poems, questions and opinions.
Young readers could become members of the Bud Billiken Club by mailing in a form with their name, but they could also mail in letters and poetry as a way to correspond with their fellow Billikens. In June 1921, a girl named Ruth McBride of Oak Hill, Alabama, submitted the following letter to Bud:
“As I was reading the Chicago Defender a lovely paper of our Race, I came across some beautiful poems written by some of the members of your club. It filled my heart with joy to read such sweet poems. I am a little girl 9 years old, and I wish to join your club. If there is any space for me. I go to school and am in the fifth grade. My mother gets the Defender every week. Here is a poem I am sending:
Down in the sunny South, where I was born, Where beautiful flowers are adoring, The daisies white and the purple lily. This is where the land is hilly."
In July 1921, Juanita Johnson of Washington, D.C., sent the Defender Junior her poem:
"When you are lonely and don’t know what to do, When you must admit that you are feeling blue, Take your pen in hand, my dear child, I entreat, And write the B.B. Club something nice and sweet. Your blues will depart, I’ll surely guarantee. You’ll cheer up at once, for so it is with me."
Black children could find – or at least attempt to find – their voices on the pages of these periodicals. For Bud Billiken, there was no greater urgency. In his introduction to the April 23, 1921, edition, he tells the story of a fly that “sat on the axle of a chariot wheel and said, ‘What a dust I do make.’”
“The fly imagines that he is causing the wheel to go around,” Billiken continues. “Let us not be like the fly, thinking we are doing something when really we only move as the world moves us.”
He concludes by writing, “The world would move on if we were not in it. This paper would be published just the same without our space. Let us make the world know that we are living and helping to make the noise and dust.”
The Defender Junior proved popular – so popular that the newspaper launched the Bud Billiken Parade in 1929 in Chicago’s South Side. By midcentury, the annual parade had become one of the largest gatherings of African Americans in the U.S., attracting national figures such as Duke Ellington and Muhammad Ali. In 2020, the beloved event was canceled for the first time in 91 years due to the COVID-19 pandemic.
The Brownies’ Book, the Defender Junior and the children’s sections of other African American weeklies gave Black children a space to tell their stories, express their anxieties and assert their ambitions.
In that photograph of the ballerina on The Brownie’s Book’s first cover, I imagine her saying something similar to Bud Billiken’s appeal – “Let us make the world know that we are living.”
Or perhaps more simply, “Black lives matter.”
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Contemporary Canadian picture books are sweeping readers off their feet with compelling images as well as — or instead of — words.
Julie Flett’s Birdsong, for example, recently earned the 2020 TD Canadian Children’s Literature Award for the most distinguished book of the year. Before winning, the book was shortlisted alongside two other picture books and two middle-grade novels for this prestigious prize. Since 2014, many of the winners of this award have been picture books.
Combinations of images and words have come into their own as spectacular products of arts and culture. As such, they have tremendous potential in the wide field of literacy as families, schools and communities embrace shared reading opportunities.
Increased variety of stories
My research team and I recently explored 500 picture books created by authors or illustrators living in Canada and published since 2017 by Canadian publishers. I’ve also reviewed an array of modern titles that demonstrate the evolution of what Eliza Dresang, a professor of library science, called “radical change” in children’s literature.
Dresang identifies that in our digital age, we’re seeing an increased variety of forms and formats in children’s literature, and wider content boundaries. Children’s literature is currently engaging more serious subject matter and including perspectives that have been historically marginalized, such as stories about Indigenous people’s experiences of residential schools.
Today, picture books appear in a variety of genres, fiction and non-fiction, and generally unfold in 24 or 32 pages. Many of these books rely greatly on images to create and deepen meaning, and image quality is therefore critical. Readers now have access to multi-media projects with tremendous artistic merit, as well as stunning projects without any words at all, such as Sidewalk Flowers, illustrated by Sydney Smith and authored by JonArno Lawson. This wordless picture book won the 2015 Governor General’s Award in the category for children’s illustrated books.
Choosing books for children
Children need access to stories that authentically represent their lived lives. Educators and parents who are selecting picture books for children should examine the illustrations as well as the words, seeking titles that are representative of the world we live in. Audiences need diverse characters who are portrayed respectfully and accurately in terms of culture, language, religion, social class, ability, sexual orientation and gender.
The increasing availability of dual-language books offers a wonderful opportunity to celebrate multiple languages, with translations either embedded as single words or full text variations.
The following books are extraordinary in both text and illustration, grouped here as a snapshot of contemporary excellence that represents diverse communities, identity themes and artistic media. Include them in home and school collections or enjoy them from your local public library.
The Land Beyond the Wall, by Veronika Martenova Charles.
Nimbus Publishing, 2017.
This allegory, presented in evocative narrative and watercolour, follows a young girl who moves to a country where she is free to be an artist. The author’s afterword discusses her childhood behind the Iron Curtain, arriving in Canada via Pier 21 in Halifax. For ages 5–12+.
My Beautiful Birds, by Suzanne Del Rizzo.
Pajama Press, 2017.
Sami has escaped war-torn Syria and lives in a refugee camp. As he befriends four new birds, he begins to adjust to his new life. Poetic language pairs well here with stunning illustrations created through Plasticine, polymer clay and acrylics. For ages 6–10+.
My Cat Looks Like My Dad, by Thao Lam.
This unique story, presented with retro-style collage, lists the various ways the narrator’s dad resembles their cat. A surprising twist at the end: the narrator is actually a bird. The message is that family is what you make it. For ages 3–8+.
Kisimi taimaippaktut angirrarijarani/Only in my hometown, written by Angnakuluk Friesen, illustrated by Ippiksaut Friesen and translated by Jean Kusugak.
House of Anansi Press, 2017.
Free-verse childhood memories, paired with evocative paintings, illuminate growing up in a small Arctic town. The text unfolds in two languages: Inuktitut (using both syllabics and transliterated roman orthography) and English. For ages 5–adult.
Africville, written Shauntay Grant and illustrated by Eva Campbell.
Groundwood Books, 2018.
A young girl visits the former site of Africville and imagines this historic Black Nova Scotian community while thinking about family stories. Textured oil-and-pastel-on-canvas illustrations extend the lyrical text. An author’s note provides more information about Africville’s development from an early settlement, and how the community was razed by the city of Halifax in the 1960s. For ages 4–8+.
Seamus’s Short Story, written by Heather Hartt-Sussman and illustrated by Milan Pavlović.
House of Anansi Press, 2017.
When Seamus wears his mother’s high-heeled shoes, he can reach everything! But … there are definitely times to be tall and times to be small. This is a nuanced story about innovation, self-acceptance and love, presented with a bright palette of colour. For ages 4–8.
The Dog Who Wanted to Fly, written by Kathy Stinson and illustrated by Brandon James Scott.
Annick Press, 2019.
This warm-hearted story, enriched by Brandon Smith’s highly animated illustrations, encourages readers to follow their dreams. Zora is a well-developed and compelling canine character that audiences will cherish. For ages 3–8.
The Girl and the Wolf, written by Katherena Vermette and illustrated by Julie Flett.
Theytus Books Ltd., 2019.
A girl gathers berries with her mother when she becomes lost in the woods. A wolf helps her use her wits and she finds her family. Later, she leaves tobacco in a red cloth as a gift of thanks. Julie Flett’s textured mixed-media images extend Katherena Vermette’s powerful text about finding courage and wisdom inside ourselves. The author’s note says this story was “inspired by traditional stories, yes, but in no way taken from one.” For ages 4–9+.
The Outlaw by Nancy Vo.
House of Anansi Press, 2018.
A young boy speaks on behalf of an outlaw returning to make amends in this story about redemption. The images use ink, watercolour and newsprint transfer, with newspaper clippings and fabric patterns from the late 19th century. For ages 5–9+.
The link below is to an article reporting on six Australian authors, illustrators and organisations as having been announced as candidates for the 2021 Astrid Lindgren Memorial Award, the world’s richest prize for children’s literature.
The link below is to an article reporting on the winners of the 2020 Children’s Book Council of Australia (CBCA) Book of the Year Awards.
Recent research from the Literacy Trust has indicated that children’s interest in and enjoyment of reading increased during lockdown. However, some children who were less confident as readers did not report that their reading was as easily supported by parents when schools and libraries were closed. As some parts of the UK go into lockdown, what books can parents and carers share with children that both adults and children can both enjoy?
In this wonderful picture book for kids aged three to six, an officious cat explains to a frog why it must sit on a log, even though it is bumpy and there is a danger of splinters in the bottom. All animals must sit on objects that rhyme, such as pumas on satsumas and gorillas on chinchillas. The inventive rhymes, combined with Jim Field’s colourful illustrations, will provide many laughs and make repeated sharing enjoyable.
Illustrations by Jim Field.
Rocket loves looking up at the stars and wants to be an astronaut when she grows up, like Mae Jamieson, the first Black woman to travel into space. Her brother Jamal, who is more interested in looking down at his phone, has promised to take her to the park to see a meteor shower, but first, they have to go to the supermarket, where Rocket tries to get the other shoppers excited with amazing space facts. Can she interest her neighbours? And will anyone else come to the park? Rocket’s enthusiasm is infectious, and the tender portrayal of the siblings’ relationship will delight adults and children six and up.
Illustrations by Dapo Adeola.
Harriet Versus the Galaxy by Samantha Baines
Harriet has had to move in with her gran because her dad’s lorry driving job takes him away from home. While looking for her hearing aid under her bed, Harriet finds an alien and discovers that when she wears her aid she can understand its language. Harriet learns that her gran is a member of an intergalactic security agency and Earth is under attack. Can Harriet, her new friend Robin, her gran and a sock munching alien save the planet? This funny and exciting book, from inclusive publishers Knights Of, has short chapters and lively illustrations, making it a perfect shared book for readers not quite ready to read a novel for themselves (ages six to 11).
Illustrations Jessica Flores.
Nevermoor: The Trials of Morrigan Crow by Jessica Townsend
Ten-year-old Morrigan Crow was born on the unluckiest day, Eventide, and as such is blamed for all misfortunes that befall her town. Worst of all, Morrigan is cursed to die midnight on her eleventh birthday. However, just before the curse can come true she is whisked away by traveller, adventurer and hotel proprietor Jupiter North to the hidden Free State city of Nevermoor, home of the Wundrus Society. Can Morrigan pass the trials to join the mysterious society? Can she outwit the Free State immigration officers? And is Morrigan’s life still in danger?
This book is enormous fun. Jessica Townsend has created a fantastic cast of characters, and it would be a wonderful book to read with or to children aged eight and above. The audiobook, read by Gemma Whelan, would also be wonderful to share.
Sawbones by Catherine Johnson
Film writer and novelist Catherine Johnson is well known for her historical novels, and this is one of her best. In 18th-century London, Ezra McAdam, a mixed-race 16-year-old surgeon’s apprentice, foils a break-in at his master’s house. This sets off an exciting chain of events that include grave robbing and murder. Along the way he is befriended by Loveday Finch, the daughter of a man whose murdered body has similar injuries to corpses that Ezra has dissected; can Ezra and Loveday survive to find out the truth behind her father’s murder? A fantastically exciting read to be shared and discussed with readers aged ten and above.
A highlight for Australian children’s literature is the announcements of the Children’s Book Council of Australia (CBCA) Book of the Year award winners. This year’s winners will be announced on Friday October 16 — right before the start of CBCA’s Book Week on October 19.
Making the shortlist brings great exposure for the books and their creators. The shortlisted books are put on special display in public school libraries and supermarket shelves. They are even made into teaching resources, suggesting an exploration of the book’s themes, for instance.
Crucially, award lists contribute to the “canon” of literary works that become widely read. This canon is distributed through libraries, schools and homes. Sometimes, benevolent relatives give them as gifts.
We investigated the diversity — including ethnicity, gender and sexuality — of the 118 shortlisted books in the early childhood category of Book of the Year between 2001 and 2020. We also examined diversity among the 103 authors and illustrators who have made the shortlist over the past 20 years.
Our yet unpublished study found most (88%) human main characters in the shortlisted books were white; none of the main characters were Asian, Black or Middle Eastern.
Why diversity matters
The CBCA was formed in 1945, as a national not-for-profit organisation promoting children’s literary experiences and supporting Australian writers and illustrators. The first awards began in 1946.
There were originally three categories for Book of the Year: older readers, younger readers and picture book.
In 2001, “early childhood” was added as a category. This was for picture books for children up to six years old.
Picture books are significant for not only developing early literacy skills, but also for the messages and values they convey about society. They help children learn about their world.
The diversity children see represented in that world affects their sense of belonging and inclusion. At this age, cultural values and bias settle in and become the foundation for how we develop. These values and biases have a profound influence on our successes and struggles in our adult lives.
A positive for gender diversity, but not ethnicity
We used visual content analysis to examine ethnic diversity, we well as gender, disability, sexuality and linguistic variation in the 118 early childhood category shortlisted books — between 2001 and 2020.
We also examined diversity among the 103 authors and illustrators who have made the shortlist over the past 20 years. Only one person — Alywarr illustrator Dion Beasley, from the Northern Territory, and winner in 2017 for Go Home Cheeky Animals — identifies as Indigenous.
Female authors and illustrators, however, were more represented (66%) than male (34%).
Looking at the picture books, we first identified four major types of characters: human (52.5%), animal (41.5%), object (4.4%) and imaginary (1.4%).
We then distinguished between main characters and those in supporting roles that make up the story world in which the main characters act.
One of the most encouraging findings was the gender parity among main characters. We identified 52 solo human main characters across all 118 books. Fifty-one of these are children, with 25 boy and 24 girl main characters (two main characters were not identified by gender).
This placed boys and girls equally in the role of the protagonist, which stands in contrast to previous research looking at best-selling picture books.
But in terms of ethnicity, the human main characters are overwhelmingly white (88%). There are just two Indigenous main characters and one who is multiracial. There have been no Asian, Black or Middle Eastern main characters.
Looking at the wider story world, supporting characters are still overwhelmingly white. But this world does marginally include characters of Asian, Black and Middle Eastern heritage. Overall, human characters appear in 85 (72%) of the 118 books.
White characters appear in 74 of these books, and only nine books have no white characters. Non-white characters appear in a total of 18 books (21%).
Our results for ethnic diversity don’t correlate well with the latest Australian census data (from 2016). The cultural heritage of Australia’s population is described as: 76.8% white, 10% East and Southeast Asian, 4.6% South Asian, 3.1% West Asian and Arabic, 2.8% Aboriginal and Torres Strait Islander, 1.5% Maori and Pacific Islander, 0.7% African, 0.6% Latin American.
The CBCA early childhood shortlist minimally represents other forms of diversity. We see only two main characters living with a disability and no characters who are sexually and gender diverse.
Other types of diversity
Linguistic variation is also minimal, in only four books, which does not reflect the linguistic diversity of the wider Australian population.
In response to our queries regarding their judging criteria, the CBCA said:
we do not select books for entry into our awards. It is the publishers and creators who select the books for entry. Our main criterion is literary merit, we do not actively exclude diversity, themes or genre.
Only two of the six 2020 shortlisted books in the early childhood category have human main characters. And these are both white.
The age of zero to six years is a crucial stage of development. It is important for young readers to see people and surroundings that are like their own to cultivate a sense of belonging. It is equally important to see a different world they are not familiar with.
If award-winning books sit at the top of reading lists, these books also need to embrace and reflect the full and rich diversity that makes up our country.
The link below is to an article that looks at the best children’s books.
Global support for the Black Lives Matter movement isn’t only about standing up against the injustice done to George Floyd, or Indigenous Australians in custody. People are also standing up against the entrenched racism that leads to a careless approach towards the lives of people who aren’t white.
Research shows 75% of Australians hold an implicit bias against Indigenous Australians, seeing them negatively, even if this is unconscious. Children absorb this bias, which becomes entrenched due to messages in the media and in books, and continues to play out at school and the broader community.
Making sure children have access to books showing diversity is one step in breaking the cycle that leads to entrenched racism.
Children develop bias from an early age
Children develop their sense of identity and perceptions of others from a very early age – as early as three months old. Because of this, young children are particularly vulnerable to the messages they see and hear in the media and in books.
Research over many years has shown books can empower, include and validate the way children see themselves. But books can also exclude, stereotype and oppress children’s identities. Minority groups are particularly at risk of misrepresentation and stereotyping in books.
First Nations groups are commonly absent from children’s books. Excluding the viewpoints, histories and suffering of First Nations Peoples can misrepresent history, and teach kids a white-washed version of the past.
A world of children’s books dominated by white authors, white images and white male heroes, creates a sense of white superiority. This is harmful to the worldviews and identities of all children.
Sharing stories through books
Evidence shows sharing Aboriginal and Torres Strait Islander stories helps break down stereotypes and prejudice. And this, importantly, helps empower Aboriginal children and improve their educational engagement and outcomes.
But research suggests many classrooms have books that are monocultural literature, and Aboriginal and Torres Strait Islander books are notably absent.
There are some encouraging signs, with an increase in the publication of books by and about Aboriginal and Torres Strait Islander peoples. We are also seeing bookshops and publishers reporting a rise in demand for books on race and racism.
This can also help adults become informed about Australia’s colonial history. Reading these books can help challenge their own unconscious biases and misunderstandings.
The challenge for teachers and parents is to access suitable children’s books and share them with the children in their care. We can use these stories as a foundation for conversations about culture and community.
This can help to drive change and support reconciliation.
Other ways of sharing diverse stories
Creating Books in Communities is a pilot project run by the State Library of Western Australia that helps create books with families about their everyday experiences. These books represent the families’ culture and language.
Projects like these are another way we can recognise and extend the voices of Aboriginal and Torres Strait Islander peoples.
Another project, On Country Learning, involves children and teachers learning through culture alongside Aboriginal elders. A preliminary review of the program shows it enriches teacher knowledge and motivates all children to learn.
Reading and listening to the stories of Aboriginal and Torres Strait Islander peoples can help teachers gain important knowledge and understanding. This helps them effectively engage with and teach Aboriginal and Torres Strait Islander students.
And it helps them teach all students about Aboriginal and Torres Strait Islander languages, histories and cultures.
To see real and lasting change children need everyday story books with heroes and characters that reflect their diverse backgrounds. To help this happen we can support groups such as the We Need Diverse Books Movement and LoveOZYA , which actively call for and promote diverse books for young people.
Affirmation of all children’s culture, language and identity at this pivotal time in world history is critical to the future of all our children.
Parents and teachers can source Aboriginal literature from websites such as: Magabala Books, IAD Press, Aboriginal Studies Press, Fremantle Press, UWA Publishing, BlackWords, Batchelor Institute Press.
Helen Joanne Adam, Senior Lecturer in Literacy Education and Children’s Literature: Course Coordinator Master of Teaching (Primary), Edith Cowan University; Caroline Barratt-Pugh, Professor of Early Childhood, Edith Cowan University; Libby Jackson-Barrett, Senior Lecturer, Edith Cowan University, and Robert Stanly Somerville, Head of Teaching and Learning, Kurongkurl Katitjin Centre for Australian Indigenous Education and Research, Associate Professor, Edith Cowan University
With remarkable speed, numerous children’s books have been published in response to the COVID-19 global health crisis, teaching children about coronavirus and encouraging them to protect themselves and others.
Children’s literature has a long history of exploring difficult topics, with original fairy tales often including gruesome imagery to teach children how to behave. Little Red Riding Hood was eaten by the wolf in a warning to young ladies to be careful of men. Cinderella’s stepsisters had their eyes pecked out by birds as punishment for wickedness.
But this wave of coronavirus books is unique, being produced during a crisis rather than in its aftermath.
These books explore practical ways young children can avoid infection and transmission, and provide strategies parents can use to help children cope with anxiety. Some books feature adult role models, but the majority feature children as heroes.
The best of these books address children not just as people who might fall ill, but as active agents in the fight against COVID-19.
Our top picks
Written in consultation with an infectious diseases specialist and illustrated by Axel Scheffler of The Gruffalo, this nonfiction picture book offers children information about transmission, symptoms and the possibility of a cure, reassuring readers that doctors and scientists are working on developing a vaccine.
The last few pages answer the question “what can I do to help?”
Coronavirus: A Book for Children shows a diversity of characters taking action to manage the effects of the virus. Children are told to practice good hygiene, not to disturb their parents while they are working from home and keep up with their schoolwork.
It is also hopeful: reinforcing the idea that the combination of scientific research and practical action will lead to a point when “this strange time will be over”.
Written and illustrated by Helen Patuck, My Hero is You! is an initiative of a global reference group on mental health, and is a great book for parents to read with their children.
Sara, daughter of a scientist, and Ario, an orange dragon, fly around the world to teach children about the coronavirus.
Ario teaches the children when they feel afraid or unsafe, they can try to imagine a safe place in their minds.
Based on a global survey of children and adults about how they were coping with COVID-19, My Hero is You! translates the results of this comprehensive survey into a reassuring story for kids experiencing fear and anxiety. It also acknowledges the global nature of the health crisis, showing children they are not alone.
The Princess in Black is an existing series, with seven books published since 2014 and over one million copies sold. In the books, Princess Magnolia enlists children to help with a problem she cannot defeat alone: here, of course, that problem is coronavirus.
For fans of the series, Magnolia and her pals are familiar characters encouraging readers to solve the problem of coronavirus by washing their hands, staying at home, and keeping their distance.
The Princess in Black shows a deft use of humour to introduce children to complex ideas in a familiar and friendly manner.
Children’s books have often sought to entertain and educate children at the same time. The immediacy of these books, with their practical solutions and strategies for children to manage fears and anxieties about sickness and isolation, is a phenomenon we haven’t seen before.
With free online distribution and simple messages, these books present children with individual actions that have both personal and collective benefits.
Importantly, the heroes identified in these stories include children themselves. Their fears are acknowledged, but at the same time they are told they can fight the virus successfully.
A frequently updated list of children’s books on the pandemic is available from the New York School Library System’s COVID-19 page.
Shih-Wen Sue Chen, Senior Lecturer in Writing and Literature, Deakin University; Kristine Moruzi, Research fellow in the School of Communication & Creative Arts, Deakin University, and Paul Venzo, , Deakin University